You have to laugh.
The expression does have another context! When an artist produces a piece of work, it is, actually, a part of them. Their psyche. Their unique vision. Their knowledge and experience. Owning an original from an artist is, in fact, rather special, since the original was made by the artist's own hands, unlike a reproduction. That's not to say that you are not owning something of that artist. when you buy a print....you will, in fact, have something of their mind and their effort - but it is not the same as owning an original. That feels quite different somehow.
However in these days of chronic austerity for many, owning an original piece is often something only to dream about. Which is why the "affordable art" concept came to fruition. Why many artists are producing small, affordable pieces alongside their larger, less affordable perhaps, pieces.
Open Studio is drawing to a close for me, after this weekend, remaining pieces will gradually filter out to galleries, where they become less affordable because of the gallery commissions buyers have to pay. And I know there are lots of people who might have liked to visit my Open Studio but live too far away. So I am going to gradually offer up pieces for sale before I send them out to galleries, and if you would like one, contact me asap, I will pop a "red dot" on it and get it to YOU.
Here are my ENAMEL ON COPPER images. No bigger than 10"x10" including the frame, and available for £85 / $100 plus postage. No glass involved, so safe to send. You will be owning something none of your friends will have, I make just a few of these from time to time, so very few exist in the world!
They are not "painted" in the conventional meaning of the word...enamel on copper is quite different to paint, which is applied with a brush. Usually. Enamel is GLASS POWDER which is sifted onto the surface of the metal. The powders can be opaque, or transparent, and different effects can be achieved as the artist gradually applies layer upon layer and the piece goes into, and out of, the kiln, many times. The colours can be brilliant, or subtle. Areas can be masked off while the powder settles in the unmasked areas. Lines can be achieved by either scribing into layers of powder, or pulling it along with some kind of instrument - a fingernail, a rubber shaper, a knife, sometimes even a brush. The finished panel is hard and shiny, and I glue it to small block of wood which is attached to the back of the frame...so the panel sits slightly proud of its background. People recognise it is not a painting; they come up close and study these little panels, fascinated by what it might, actually, be made of.